Other chapters uncover connections between George Puttenham's The Arte of English Poesie and sugar, Ben Jonson's Poetaster and inkhorn terms, Shakespeare's The Rape of Lucrece
and the lately introduced concept of zero.
With original music played live by Feargal Murray, Camille inhabits the souls of both rapist Tarquin and victim Lucrece
, narrating the fate of each.
Logan has that ease with Shakespeare that makes the language sound like natural speech, albeit from the 16th century, rather than just recited verse and he manages to bring the narrative poem to life with all despair of and shame of Lucrece
and the fears of her rapist, Tarquin.
Instead of accepting the blame, like Lucrece
, she wishes that she could expel the "poison," and infect Lothario with it: "O that I could spit out the spiders bladder, / Or the toads intrals into thee, to take part / And mixe with the diseases that thou bear'st .
Having really enjoyed this it seems to me the Rape of Lucrece
, the poem Shakespeare wrote the following year, would be the most obvious thing to move on to,' says Doran 'It's a much edgier piece, but it would be interesting to do as a companion piece.
A chapter on Cymbeline explores not only that play's relation to Spenser's Faerie Queene (Bk 2, Canto 10) but its apparent allusions to half a dozen earlier dramas and Lucrece
, and suggests an autobiographical motive: perhaps Shakespeare aimed to comment on `his personal history as a writer' (23).
Next year, 1594, Field produced Shakespeare's The Rape of Lucrece
About 1593, when theaters were temporarily closed in London on account of the plague, Shakespeare composed and published the narrative poems Venus and Adonis and The Rape of Lucrece
, both of which he dedicated to his patron, the earl of Southampton.
The story of Lucretia has been dramatized in French by Antoine Vincent Arnault in his tragedy Lucrece
(1792) and by Francois Ponsard in 1843; in Italian by Alfieri in Brutus; in English by Thomas Heywood in The Rape of Lucrece
(1630), by Nathaniel Lee in Lucius Junius Brutus (17th century), and by John H.
Fresh approaches to more familiar plays appear in Cameron Hunt McNabb's discussion of the Chester 'Antichrist' and Andrew Bretz's analysis of Heywood's Rape of Lucrece
But six months pregnant with her daughter, she performed her emotionally powerful reinterpretation of Shakespeare's tragic poem, The Rape of Lucrece
at Sydney Opera House.
An especially good example of this is the concluding section of chapter 2, which positions Lucrece
alongside Orpheus, Philomela, and Hecuba, Ovidian figures who likewise "straddle the boundary between music and meaningless sound" (66).